It’s in a British country garden that Hedi Slimane set his SS25 Celine Homme collection film. In the walled grounds of Holkham Hall, an 18th-century mansion; home of the Earls of Leicester. Here, the drums, distortion and synths of previous seasons are replaced by a trumpet call that leads into Les Indes galantes, written by French composer Jean-Philippe Rameau in 1736.

“You don’t hear much about hope these days, do you?… They’ve forgotten all about hope, there’s only one great evil in the world today. Despair.” A quote from Evelyn Waugh’s 1930 masterpiece Vile Bodies headlined the show notes – words that ring true today.

Despair is far from the minds of Slimane’s Bright Young Things, who Banbury around their countryside abode during a long, hot summer in their traditional yet reworked British sartorial wardrobes; riding horses, cycling, climbing trees, and having the wildest parties (probably, definitely). Hedi Slimane’s dedication to examining British codes of dressing are well documented, but where the designer often taps into post-60s cultural epochs, here he looks to Britain’s version of the Roaring Twenties. A time of artistic innovation, flamboyance, dandyism, post-war liberation and jazz. Of P.G. Wodehouse, E.M Forster and Soho’s infamous Gargoyle Club. Of boating hats, frock coats, candy striped blazers, tailcoat tailoring and cricket knits. This was all in the mix, with pieces made from 1920s summer cashmeres and wool, rewoven for Celine, exquisite suits hand-embroidered with English field flowers, barathea wool tailcoats, cashmere flannels, and silk faille gilets embellished with English Gothic floral motifs set in sequin, crystal and high-gloss black, gold and silver pearls.

Black leather biker jackets sat alongside regal velvet capes – both worn by the highest figures on their respective stages: rockstars and royalty. It was David Bowie as written by F. Scott Fitzgerald, or F. Scott Fitzgerald if he’d listened to David Bowie.

As is always the case for Slimane, the inspiration for the show has been a meticulous study, stemming from an essay the designer wrote on Anglomania as a student at the Ecole du Louvre during the late-80s. Discovering the likes of Beau Brummell, Stephen James Napier Tennant and Cecil Beaton had such a profound effect that, decades on, Slimane revives his project on the grandest scale, saluting those who refined what came before.